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in each of my pieces I strike that at
the design a different line the
different color and in this particular
work focus on vaccination every
instrument in the ensemble and start to
finish will evolve will transform and
quickly for instance begins with the
basically a low intimate course sound
develops blossoms into the seafood we
hear explosions gestures articulations
and a one like explosive and then
unfolding into the vase sweet and high a
Kalina time piccolo has this exclusively
attracting woody sound in the coil you
can feel all of the corners and the
edges of the pipe as the sound of Moses
and the piece concludes with this point
gent and this still climbing our
legislation with the base six seven
octaves below and this huge cavity of
space in the time but it's not space
it's life
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came across this beautiful poem by hud
crane to Brooklyn Bridge and there was a
phenomenal line I ripped to obscure
fettling and it made so much sense with
the organization of my piece with the
sounds the shadows the light and all the
musical influences crane has this
extraordinarily subtle yet intense way
of including musical vernacular and
aesthetic inside of his poetry I've
always been attracted to it you know I'm
gonna do I'm going to give you a lot of
time on the twelve eight on forty one of
the great joys of being conducted being
a composer is watching rehearsal and
observing the virtuosity unfold in real
time and I'm so fascinated with what the
performers do with the written page and
it's the element of virtuosity that
keeps the liveliness and that the
tension throughout and it keeps the
players at a level of engagement that I
think is absolutely imperative
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[Applause]
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contact is nameless amazing vibrant
showcase in New York City
of course Terry composers dreamed to
write for the New York Philharmonic and
what was so touching for me was the
opportunity to write for not only
ensemble and orchestra that I felt close
to as a performing ensemble but also as
as close colleagues
I like all of my music rapprochement and
this is certainly appeared specifically
for the New York Philharmonic knowing
the personalities and the faces and the
styles behind the playing has helped me
write this work from the very slide this
commission would not have been possible
without the tremendous help of Alan
Gilbert
it's Abeka Salonen the aplans haven
that's even Beeson and also Eddie M and
like to thank them and look forward to
this concert command
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you